. John La Farge : a memoir and a study . for-ward, that he took ship and returned to Amer-ica. IV THE EVOLUTION OF ANARTIST IF there is one thing more than anotherwhich I hope has been made plain in thepreceding chapter it is that none of La Fargesexperiences abroad had crystallized his ideasof art into a formula. Europe had not fittedhim out with a technique. It had awakened inhim, and to some extent had organized, a habitof mind. Potent influences were singing in hishead like wine. He could not return unscathedfrom his contact with the impetuous adherentsof the romantic movement. But he was
. John La Farge : a memoir and a study . for-ward, that he took ship and returned to Amer-ica. IV THE EVOLUTION OF ANARTIST IF there is one thing more than anotherwhich I hope has been made plain in thepreceding chapter it is that none of La Fargesexperiences abroad had crystallized his ideasof art into a formula. Europe had not fittedhim out with a technique. It had awakened inhim, and to some extent had organized, a habitof mind. Potent influences were singing in hishead like wine. He could not return unscathedfrom his contact with the impetuous adherentsof the romantic movement. But he was com-mitted to nothing, neither to the rectitudeof Ingres nor to the prodigal method of thatmasters abhorred rival, neither to the flat-brush trick of the Salon and the gray light ofthat official tabernacle, nor to the freer atmo-sphere which the Barbizon men were carry-ing into vogue. He was, instead, in the moodto think it all over. Anatole France has a saying on Gavarniwhich is absolutely applicable to La Farge: John La Farge in 1885. C 101 3 He thinks, and that is a cause of wonder inthe midst of all this world of artists who arecontent with seeing and feeling. The point isone of the greatest importance, to be kept con-stantly in mind; and we have at the same timeto recognize the equilibrium established in hisartistic nature. That he thought much did notprevent his seeing and feeling. It acted bothas a check and as a fertilizing influence; itstayed his hand from relapsing into routine,and, always unfolding to him new phenomenain the worlds of nature and art, spurred him toredoubled efforts. The duality of his genius issharply expressed in some of his remarks tome. Were it not for our learning by instinctand not by thought we should never do any-thing. . Painting is, more than people think,a question of brains. A really intelligent manwould not have to see, if he could only find hisplace, any more than a musician is obliged tohear the music he writes. Of course the actualexec
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